Review | Tilted Arc was creat...

Generated on 2023-02-02 15:58:38

Result #1

Tilted Arc was created by Richard Serra and was a public art installation in Foley Square, Manhattan. It consisted of a 120-foot-long, 12-foot-high solid, unfinished plate of rust-covered COR-TEN steel. Placed in the Federal Plaza, the work bisected the space, blocking views and paths of those who frequented the plaza. A single rope extended from one end of the work to the other, and it ended at the plaza, where it passed through the short, high, and square frame of the rope. In the words of the artist, The rope connects the whole body. This is a sculpture that is experienced in a way that is somewhat like a rope. It is a sculptural object that is experienced as a path.At first glance, the work looked like a passive, spare, and naturalistic sculpture. It was obvious that the rope was attached to a steel plate that Serra had cut into the COR-TEN and then folded in on itself. The work, with its mottled surface, its discreetly rusticated surface, was reminiscent of the soft, texture-smooth surfaces of early Gilles Deleuzes. But the rope was no longer the substance of the piece, and it had become the object of a sculptural process that had been interrupted. It had been suspended from a suspension system. In this way, the rope was suspended from a bridge, a bridge of suspended ropes.The piece was also suspended from the air. The rope was suspended from the force of gravity. It was a rope, but one that was weightless. It was also a rope that could be used, but not used to make an object; it could not be used to pull a car up the ramp. It was also a rope that was precarious, that could be looked upon as fragile. It was also a rope that could be used, but not used. It was also a rope that had an extraordinary density of materiality, and it was this density of materiality that held it together. The rope was neither static nor impermanent; it was dynamic, as if it could be moved. In this respect, the work was an experience of weightlessness, and it was this dynamism that Serra sought to reach.This dynamism was achieved through the use of suspended ropes.

Result #2

Tilted Arc was created by Richard Serra and was a public art installation in Foley Square, Manhattan. It consisted of a 120-foot-long, 12-foot-high solid, unfinished plate of rust-covered COR-TEN steel. Placed in the Federal Plaza, the work bisected the space, blocking views and paths of those who frequented the plaza.The work consisted of a series of sharp, concave, curved planks, the different sections of which met in a continuous line, approximately 20 feet long, about 4 feet wide and 18 inches long. The planks were all mixed-match, and were covered with a smooth, milky white silicone, which hardened and shimmered, becoming a sort of voracious, indeterminate substance. The natural materials had been transformed into a highly artificial, synthetic, but beautiful material.The work consisted of a series of 120-foot-long strips of gray-white silicone, each the length of a track, about 4 feet long. Serra made the tracks using a sliding device. The weight of the sliding device shifted, changing direction as one passed through the piece, creating a very painful, awkward movement. The sound of the sliding device was amplified as one moved through the piece, creating an indistinct, metallic sound that sounded like a car door slamming shut.When a viewer approached the piece, the piece became very disorienting, and the viewer was forced to turn and face the opposite wall. The sight of the grey-white silicone and the track turned into a sort of escape from the claustrophobia that was created by the presence of this material. The material, which seemed to have no firm ground, became an overwhelming presence, and the viewer was forced to put down the 3-D glasses that seemed to have come out of the gallery as if in an attempt to confront the sculpture. The result was an awkward, awkward installation, but one that nevertheless achieved a certain degree of illusionistic intimacy.The piece was also a reflection on the artist, who is often referred to as a sculptor. While this work reflects on an individual self, it also reflects on a society in which art is made to function as a means of demonstrating the properties of the human body.

Result #3

Tilted Arc was created by Richard Serra and was a public art installation in Foley Square, Manhattan. It consisted of a 120-foot-long, 12-foot-high solid, unfinished plate of rust-covered COR-TEN steel. Placed in the Federal Plaza, the work bisected the space, blocking views and paths of those who frequented the plaza. In one of its most effective aspects, it created a space for social interaction between people who could not be here together.In response to this visual imbalance, the sculpture had to be removed. The work was placed on a low, tripod-like pedestal on the sidewalk so that it looked as if it had been dragged up from the street to the gallery. At the same time, the viewer had to step up onto the pedestal to see it. To do so required one to pass through a metal detector which activated an alarm system. On entering, the viewer found himself in the middle of a parking lot where the piece was immediately visible. The piece was also visible from the sidewalk, but the spectator had to walk around it to find it.This work was similar to Paul McCarthy-Ryans Three Inch Nails, 1989. The piece consisted of a 12-foot-high, high-gauge, painted steel pipe. This work was placed on a raised platform in the middle of a metal platform. The piece was a direct continuation of McCarthy-Ryans work with steel and paint. However, since it was made out of a real steel rod, the work had a stronger physical presence. The work had to be removed in order to be installed. Here it was, and the piece was removed by a security guard. A video of the removal was projected onto the wall.The piece was another attempt to counterbalance the viewers preoccupation with the work with its social dimension. The work featured two steel pipes, one was horizontal, the other was vertical, positioned at an angle between the floor and the wall. The work was connected to the site by a series of 4 x 8 steel grates. As the grates approached the floor, they were broken, causing the work to come apart. The work looked like a ruined piece of scrap metal, and it was hard to believe that the pieces were found, and not fabricated.

Result #4

Tilted Arc was created by Richard Serra and was a public art installation in Foley Square, Manhattan. It consisted of a 120-foot-long, 12-foot-high solid, unfinished plate of rust-covered COR-TEN steel. Placed in the Federal Plaza, the work bisected the space, blocking views and paths of those who frequented the plaza. A panel of steel rods crossed the rods, leading to the concrete floor. At the far end of the piece was a large steel rack, its top stacked one side up, its bottom broken and bent at a ninety-degree angle. As you approached, the rod protruded into a pocket of concrete; the space, though still visible, was expanded by the rod. The piece was inscribed with a message: DONT BE AFRAID TO USE A BOWEL, SOMETHING WILL SHATTER WHEN YOU LOOK AT IT, BUT IF YOU DONT CARE TO HEAR IT, YOU CAN HAVE IT. The viewer could find the meaning of this gesture, the meaning of which was revealed in the work, but it didnt function as a statement. The work was actually very seductive; it was too seductive to be meaningful. Serra is very good at what he does; he can make work that is captivating, seductive, and moving in a variety of ways. He can turn the simplest materials, the most mundane, into objects that are profound and profound.He was also involved with a work in the gallery that was made of a large box with a small opening on one side and a back-open lid on the other. The back-open lid functioned as a gallery window, showing an exhibition of small works. On the glass, a wire was hung, which allowed a viewer to see from the outside and from the inside, and from a few steps in the other direction, a small cardboard box was partially concealed. The work was both somewhat seductive and quite difficult to get a handle on. The viewer had to step carefully on the wires to find the box, which was directly below the glass.

Result #5

Tilted Arc was created by Richard Serra and was a public art installation in Foley Square, Manhattan. It consisted of a 120-foot-long, 12-foot-high solid, unfinished plate of rust-covered COR-TEN steel. Placed in the Federal Plaza, the work bisected the space, blocking views and paths of those who frequented the plaza. Serra cut the steel into short, small, rectangular, curved strips. The lengths became more than six feet long and the steel was sloped, the pieces from floor to floor, the result of the same cutting process used in the piece. The sharp protrusions of the steel became more legible as a form when seen from a distance, but when viewed close up they become silhouettes of human silhouettes. Each pair of protrusions has a small cut right above the eye, revealing the angles of the cut and also giving the two cuts parallel to the floor. The cut edges are smooth, giving a sensation of tautness. The cut is also the eye of a machine, the most simple of mechanical devices. On the surface, the cut is made to look like the eye of a whip. The protrusions are almost always parallel to the floor, but there are occasions when they are not. The most striking point is the way the cut gives the cut a precise feel. If you look closely at the cut, you may notice that there is a particular line from which the cuts are drawn, a line that defines the length of the steel. The cut at the right angle is the line of least resistance, a line that allows the most flexibility. The last piece Serra did, a monumental piece, was a massive piece of steel. It was covered in aluminum, the material used in an aluminum factory, and it had to be cut with a razor blade to be removed. This large, solid piece, which forms a tower, is cut and separated by a large metal plate and then the metal is set on top of it. The metal is so heavy that the razor blade has a solid grip on the razor blade, so that when the razor blade is pressed against the razor blade, the razor blade is released.